Raju-Maharaju

What happens when reality hits on a man who is totally headstrong and filthy rich, what are the troubles taken to prove his sincerity and dedication towards love. All this is part of the film ‘Raju Maharaju’ so let us see how it is.

Story

Chakravarthy (Mohan Babu) is a rich businessman and he lives a happy life with his wife Ramya (ramya Krishna), he is known for his ethics and his kind nature. However, things are not the same with his brother Kalyan (sharwanand) who is quite the opposite. He is rude, blunt, doesn’t care about others and is bothered only about himself and his pleasures. So he has his group of friends and he indulges in all sorts of fun. His life takes a turn when sees Sneha (surveen) and falls for her. But Sneha doesn’t reciprocate to his feelings knowing his character very well. Kalyan is shattered and goes into depression. Ramya takes initiative and asks Sneha to act friendly with Kalyan for few days. Sneha agrees and begins to develop some feelings for Kalyan but one incident happens which leaves her in a fury. What happens from there forms the rest of the story.

Performances

Mohan Babu was at his best and gave an impact with his presence. Ramya was still looking hot and made the men feel dizzy. Surveen was sweet but she needs to work on her body language a bit, Tashu did her job well and was generous with her skin show, she was a visual feast. Sunil looked trim and got few smiles while his scenes with Brahmanandam also got some lighter moments. Jayasudha was brief, Jayaprakash Reddy made his presence felt. The others did their bit as per the standard.

Technical aspects

The dialogues were dull, the script was not having strength and the screenplay was average. Music failed to impress with the songs but the background score was good at few points. Cinematography was neat in the songs and few intense scenes. Editing was alright and costumes, art department was also playing a significant role.

Director’s portrayal

The director had to work on the presentation and the narrative aspects and despite the presence of some experienced actors, he was not able to give the right kind of impact. The element of comedy was not in sufficient doses and though there are few good scenes here and there, overall it has been a drag of sorts. The flaws in his narrative were seen at few points evidently and he should have worked on creating a stronger script.

Critic’s view

The film could have been a lot better if it was taken off in an energetic manner with some good scenes of comedy. The highlight in the overall venture was Sharwanand who has shown considerable improvement in his acting, dance and dialogue delivery. While the first half was dull, the second half was more on the sentimental aspect and the mix was not proportionate. There is some solace for the mass audience due to the songs and the visual delight by Tashu Kaushik but how much that can take the film to a success point will be a big question. The director should have worked on creating a crisp movie rather than trying to fill the two plus hours slot.

 

Current

What happens when feelings of love are grown for a person but then it has to be removed, how can love be born again, is it in human control? All these are the aspects of ‘Current’ and how clearly has it been conveyed, let us see.

Story

Sushanth (sushanth) and Sneha (sneha) are like two poles apart. While Sushanth is more the happy go luck guy who believes in living for the moment and does not believe in thinking about the future, Sneha is the opposite. However, their paths cross each other and Sushanth falls in love with her at the very first sight. Though Sneha turns him down initially, in no time she also starts developing feelings for him. Soon, they fall in love and the time comes for Sushanth to meet Sneha’s father (Charanraj). He arrives late as usual and also talks very casually without any seriousness to him. Sneha’s father does not approve of this but leaves decision to her. Even she tries to convince Sushanth but then he is adamant on living like that. Then Sneha asks Sushanth that he should take away those feelings of love from her heart since he was the one who started it all. Sushanth gets pricked and from then on starts his attempts to kill those feelings for Sneha. Is he successful or not forms the rest of the story.

Performances

Sushanth looked trim and energetic during the dance sequences which was a good thing but then his expressions are restricted to just two or three and not more. Sneha Ullal was regular and did her glamorous part, she looked good. Geetha was also looking pretty and she has shown potential. Vennela Kishore did a neat job, Tanikella was effective, Charanraj was okay, Brahmanandam was not used to the fullest, Raghu Babu was hilarious, Shafi was good.

Technical aspects

The dialogues were not penned with strength and the script was not that effective. Screenplay was just okay and the music was good at few parts, the songs were alright and three numbers were good. Editing was alright, costumes and art department did their bit with skill. Cinematography was good at few angles but overall, it was not able to capture the foreign locales or the moments correctly. The pace of the movie was okay.

Director’s portrayal

The director came up with an idea of twisted romance but then he was not able to narrate it convincingly. It must be said that the emotion in the romantic scenes was missing and the chemistry was not generated by him. Also, the comedy track could have been worked in a better way which would have filled the gaps. However, he must be appreciated for coming up with a new thought of removing the feelings of love from someone but he could have portrayed it better.

Critic’s view

The film has been made with decent technical values but then the content part should have been more streamlined. While the first half of the film goes with the regular elements of comedy and songs, it is just before the second half that the plot actually gets into shape and though the second half has also got some intense moments, the climax could have been more polished and could have caused some anxiety for the audience. The lack of consistent comedy is another factor that needed to be worked. Overall, the film would generate interest at few parts and keeps fluctuating on highs and lows. It appeals for youth audiences especially with second half for the emotional depth in it.

 

Minchu

Except the message that education is primary important aspect the film does not focus on any other aspects. A remake of ‘Thimuru’ this film screenplay is good. But the artists who have performed it in Kannada version should have been carefully selected. The debutant Siddanth has the monotonous outlook to the role throughout the film.

Ganesha a sincere student in the medical college has to use his muscle power when Madhevi insult Priya in front of the public. This gut is what Madhevi likes in Ganesha and she announces that she wants to marry him. On two occasions Ganesha warn Madhevi that his interests are different but on the third occasion on a rainy night the hell breaks out that takes the life of Madhevi. For no mistake Ganesha is targeted now by brothers of Madhevi. To continue his studies in medicine Ganesha shift his base to city. The trouble shooters follow this place for some more trouble. How Ganesha beat the enemies and the examination is climax part of the cinema ‘Minchu’.

Siddanth who is studying Hospital Management course in real life is just OK in his role. Archana is splendid in her role but not Jannith Dooda.

Ondhe Ondhu Kanasu…is the only melodious song in the film. Cinematography is average.

Yuva

A macho hero Karthik (who is somewhat like Vishal of Tamil) with expertise in Karate ala Shanker Nag of Kannada cinema has arrived in family packed action drama ‘Yuva’. Director Narendra Babu with two of his film ‘O Gulabiye’ and ‘Pallaki’ doing fairly well in the box office is now caught up with the cinema for the masses. The attention he gathers right from the first scene of the film is superb. Action that looks real with Karate exponent Karthik is mind blowing. The song, dance and family drama here and there plus splendid cinematography make this film ‘Yuva’ worth watching.

The historic place for Indian cinema Ramnagar where ‘Sholay’ was made in 1975 is utilized in a different way by director Narendra Babu. At this hilly spot Cheetah Yagnesh Shetty the Bollywood action director composed a chilling stunt erecting a stage 20 feet above the ground level. The hero coming here with the help of rope and five minutes Karate fight gives a blistering mood for the film. The mood often changing to love and family drama finally ends up with high voltage chase and action.

Jeevanprakash alias Jeeva (Karthik) an Engineering student is an angry young man. He does not tolerate wrong doings and indecency. For indecent behavior Jeeva calls a big rowdy a ‘bastard’ inside the cinema hall. In the interval of the cinema when the rowdy encounter Jeeva he beats unknowingly that he is a big rowdy. In one shot that rowdy is killed. The cop taking up the case set free Jeeva handing over his ID card as there is no witness. The incident No 2 is when one of his college mate son of a trustee of the college and opponent of Jeeva rapes a student Jeeva becomes very furious. He bashes up the wrong doer in the midst of everyone and that earns some more enemies for Jeeva. For this rightful incident he is given the Transfer Certificate from the college. Jeeva is taken to don ‘Anna’ by Sridevi his fiancé. Jeeva is startled when he comes to know that Anna (Gulshan Grover) is the father of Sridevi and he is even more startled when Anna hands over a pistol to the safety of his life.

The interesting turns for the story develops now as the past of Sridevi is revealed. The speedy growth and power of Jeeva is now a matter of concern for two rival dons and Home Minister. As all the three are connected they try to finish off Jeeva. In two separate attacks Jeeva had to use his full muscle power. The upright cop in happy mood looking at the evaporation of all crooks in the society let Jeeva free. This climax is similar to a Kannada film ‘Mani’ a debut of Yogaraj Bhat.

In the debut film Karthik has given his full potential. He is a very good action hero his physique and ability to do acrobatic stunts earns him applaud from the front benchers. The motorbike chase and the opening action scene are mind blowing. Karthik is good in delivery of dialogues and his ability to dance is superb. Madhu Sharma looks so sweet in two songs. She has strength to shape up as a good actress. Lal and Gulshan Grover have not left any mark. Young Chandrasekhar the villain of this film has bright future.

Stunts from Cheetah Yagnesh Shetty, Thriller Manju are fantastic. Saroj Khan the famous Hindi films dancer choreography of Jaga Jaga Bandha Laka Laka Thanda….a Krishna festival song is a treat to watch.

There are two more heroes in this film ‘Yuva’ – Music director Gurukiran and cameraman Santanio Tarzio. Not only for the three racy and peppy numbers of Gurukiran cameraman wielded the camera to look beautiful but the placement of camera in many angles is extraordinary.

A good treat for the week end!

Yodha

The Indian subcontinent that is affected by terrorism from Kashmir to Kanyakumari a regional Kannada film like ‘Yodha’ made by prestigious banner Rockline Productions serves some purpose and inject the need of patriotism, integrity and oneness among the common people. When a popular star like Darshan makes attacking speeches on terrorism and rowdy activities that is making the country a garbage basket there is some sense. With an action feast for fans Darshan also lend some sentiments and peppy dance numbers. This is a remake of Telugu film ‘Bose’ very effectively narrated.

Captain Ram (Darshan) saves the modesty of Asha (Nikitha). In saving Asha from lurch Captain Ram shoot the powerful person who has big clout in the political circle and intending to become a minister Patil (Ashish Vidyarthi) near the abdomen. The seriously wounded minister in the making is hurt mentally and physically and an inquiry is conducted in the army camp. Captain Ram is not interested in why he did so to his bosses because the life of innocent Asha become pathetic. Captain Ram faces the brunt and he is issued court martial orders.

Back in his family after serving the nation for five years Captain Ram is not in a position to explain his position. He is given warm welcome and he does not want to spoil the mood of members of his huge family. Ram finds Nikitha in his home town and no need to say they fall in love. There are two gangs in the city where Ram is living and both are looking for his life. They are ordered by Patil sitting in New Delhi to finish off Ram. That is not possible because Ram is intelligent, daring and he is hero too of the film.

In the later portions of second half we come to know that Ram is also on a mission in the city. He is here to trace the hideouts of gang of terrorists and putting down local criminals is like gulping water to him. The mission of Captain Ram ends and the higher officials in the Indian Army are explained the good work.

This one perfectly suits challenging star Darshan. The height and weight gives extra marks for him. He is good in dance with Nikitha. The well known south Indian actress Nikitha is bit liberal in skin show in this film. The running scenes of Nikitha kept purposefully is lapped up by front benchers. Nikitha is a good performer too. Avinash and Srinivasamurthy give great support to the film. Ashish Vidyarthi limping in this film barks a lot. Rahul Dev is wasted.

There are some excellent shots from cameraman KM Vishnuvardhana – especially the song Namma India…he has captured from top angle. The music from the veteran is a good treat to the ears and lip to lip to lip kode….song is a racy number.

The trio – Darshan, Rockline Venkatesh and Om Prakash Rao has picked a right film at the right time.

 

13 B

For the most part of this eerie diorama, what else would’ve got our audiences hackneyed? Aye! A disembodied arm chocking one’s neck, ghosts fast-flying across the ceilings and nooks of the screen space, victim shuddering over worrying vexations and lastly, everything disappearing due to spiritual powers. Merely, these were so clichéd that they fail to scare even children these days. They would term it “silly”.

But precipitously, ‘13B’ is rigorously horrendous sans these elements. ‘Man Vs Gadgets’ – Preferably, man is so obsessed with his electronic mediums, say mobile phone or television and there are no questions denying this truth.  A couple of famed quotes though not straightway to the motif has more relevance with this film. ‘When Television is Good, Nothing is better; When TV is Bad, Nothing is worse’. If Newton N Minow quotes this way, there’s something quite daintier too – ‘Art imitates Life while Life imitates Television’.

Trust us! ‘13B’ is all about a television set and nothing else that throws the most skittish things around. It can be compared to ‘One Missed Call’and 'Remote Control' but the connection ends right there.

The film opens with Manohar’s (Madhavan) felicitous family moving into a new apartment on 13th Floor. A lovable family indeed, for we happen to witness their elated life of brothers occupied in corporate companies gagging-around in, their wives (Maddy’s wife – Neetu Chandra) preparing delicious dishes and their mom (Poonam Dhillon) an ardent buff of Saas-Bahu serials not ready to miss even a minute of the episode.

If you ever thought it to be a sang-froid entertainer, you’re terribly faulty.  Why milk clabbers right from the first day in the new house?  Why do the walls go impenetrable where Gods’ statues are to be hung? Why does Manohar’s neighbor’s dog refrain from entering this house? Moreover, what is the reason behind Manohar’s snapshot alone going miserably ill-shaped on his mobile? Why doesn’t the lift work for him? And much before he could even get over these strange mishaps he’s exposed to the most grueling arena where a TV serial is forecasting what is about to happen in Manohar’s life.

Furthermore, Manohar is dump stuck when he discovers that the TV Serial is telecasted only in his house.

Vikram has played his cards right in bring out the best of thrills with unexpected twists and turns. Yeah! If you think you’re smart enough to predict what’s gonna happen next, you would fail miserably. The story keeps shifting at the right momentum that keeps everyone edge-seated.  The filmmaker blends the spine-tingling horror with equal proportions of romance, family and what not? You’ve got a bit of humorous things too… At no point, the screenplay goes dropping back. Characterizations have been brilliantly depicted right from the protagonist till the smart black dog that serves its best.

Impertinently, Madhavan is excellent in picking the right scripts and he’s sure to make it big if he continues striding on the same path. Be it his romantic appeal or in the most of mixed-up situations, he’s top-notching. Although, we don’t see other characterizations limned so perfectly, they are up with their best efforts.

In exact terms, technical aspects eclipse the characters’ show. P.C. Sriram’s mind-boggling cinematography with unique sepia-bounded tones provides the film a different shade. Though songs aren’t more appealing, the background score is awesome. If the song ‘Sab Khariyat Hai’ has a pleasant touch, there’s something different you experience every time this song comes along the show. Editing by Sreekar Prasad is so elegant that it adds up building tension in every passing moment.

On the whole, ‘13B’ is one such unforeseen flick of horrendous genre that remains in your minds post-the show. It’s the best made horror film of the decade. Along the lists of top-charting directors Ram Gopal Varma and Vikram Bhatt, who made the best horror films, here’s Vikram Kumar striking jackpot with 13B.

 

Aa Dekhen Zara

Obviously, very few auteurs composed unique fictions on the supernatural thriller genre. Well, none presumed to go for the most speculative take on such genres. Perhaps the raise of new filmmakers inspired by western flicks is coming to the forefront with groundbreaking motifs.  Aye! You know something…. It all started when the Japanese filmmaker Tsuruta Norio’s ‘Yogen’ (Premonition) topped the charts of World Box Office. If you’re all guessing what this plotline is all about, it’s there right in the title. A Newspaper carries stories that would happen the very next second once read.  Japanese flicks never left anyone getting inspired, even Hollywood.  Things got more exemplified with ‘Grudge’, ‘Ring’ and more that were marked coherent factors sans absurdities that we often notice in other films.

If ‘Yogen’ was all about newspapers, Ring - ‘A Video Tape’, ‘13B’ about TV Series, how about a phenomenal camera exposing future. Quite interesting, isn’t? Befittingly, the film top-notches with a brilliant script unforeseen ever in Indian film scenarios as it treads interesting parts.

‘Aa Dekhen Zara’ goes far-fetched with powerful characterizations and substantial screenplay, though it stumbles at few points.

Not all wildlife photographers do become Mohit Chauhan who’s prone to ‘Thrills’ n ‘Chills’ across every moment. Surely, his famous statement “a wildlife photographer in India, being charged by a tiger sometime in your life is almost a certainty” hasn’t got anything to do for a guy like Ray Acharya (Neil Nithin Mukesh).

Ray Acharya is a struggling wild life photographer who finds ‘misfortunes’ right on his shoulders. The guy hasn’t got a single paisa to run around for his every need until his grandpa dies passing on an extraordinary camera. Nevertheless, Ray who isn’t aware about the supernatural powers of this photo-cam clicks it haphazardly on Simi (Bipasha Basu), an aphrodisiac DJ who resides in the opposite apartment (this guy has been drenched with peeping-tom mania into her Kidkiyaan…). Ah! He’s stuck in appalling waters as one of the photographs depicts herself getting shot at a bar. It’s almost like Ray’s fortune gushing through boundlessly. Not just does he save his girlfriend’s life, but also turns into a millionaire overnight as he clicks at the lottery ticket, race horses to auspicate the right one.

Meanwhile, you’ve the worst baddies in town knocking his door for grabbing the sorcerous camera.  In some manner, he sorts out things through hand-to-hand combat. Wait! This isn’t a happy ending for the lad. He’s topsy-turvily frizzled with the most awful situation, where camera starts prognosticating his awful future.

When previous week’s releases catered to specified groups: either multiplex or single screen audiences, ‘Aa Dekhen Zara’ savors to the best for all… Possibly, for those buffs of ‘Final Destination Series’, it may not exceed your expectations. But, pace dropping off in the latter part adds to the negative traits though loaded with finest songs, it eclipses those diminishing factors.

Neil Nithin Mukesh is simply his best as Ray. The actor had proved his adept skills with in his debut ‘Johnny Gaddar’. He doesn’t strain himself overreacting to the riskiest situations in the frame.  Neil is cool striking limelight with a naturalistic appeal. Totting up is his elegant looks and gestures that draws commendable conclusions. Scrumptious Bipasha shares best chemistry with Neil. Rahul Dev as the baddie does a laudable performance. Musical score by Gourov and Pritham are pleasant to the ears though the camera could’ve been far better. 

Jehangir goes proficient with an unparalleled film. As mentioned, fine screenplay and powerful characters (including the strange camera) grounds the film on best remarks.

‘Aa Dekhen Zara’ - Zaroor Dekhna  Hai… At box office, the film is sure to sustain for next couple of weeks. It’s a doubtless statement, that we can ensure.

 

Raaz - The Mystery Continues

Perhaps, the title 'Raaz' should've got everyone's adrenalines shot-up, anticipating it to be a stupefying ride of roller-coaster. Well, the 'Bhatt' factor seems to spell tremendous magic when it comes to 'Horror'. Of course, who can refuse it or forget the most scintillating horror flicks released by the 'Bhatts'. Years back it was 'Raaz' and then '1920' had us tied to our seats and now 'Raaz – The Mystery continues' isn't an elision.

Mohit Suri brims with a commendable directorial and precisely, he strikes with a decent effort on all quotients. Not only does this flick include a gripping screenplay; his top-notch designing of the technical aspects of cinematography and background score too has us raising our hands for a grand applause.

Does 'Raaz – The Mystery Continues' offer a never-seen-before show of an exceptional storyline? Nah! You've the clichéd plotline of a ghost's unaccomplished desire for seeking revenge. But, the difference comes in the form of the unique intentions of a thirsty soul. Don't get surprised to experience certain replicas of 'The Exorcist', or the Recent Hollywood releases 'Mirrors' or 'Stigmata'. With all these properties Mohit Suri doesn't get you disappointed at any moment of the show.

Precisely, at particular points we've him getting through the lines of the 'classic-horror touch' that'll let your nerves frizzled and move you to the edge of your seats. Looking for an illustration; Uh-huh! Kangana's bathtub sequences, Adhyayan Suman dropping cash from an ATM Machine, they are sure to horripilate your senses.

 A successful model Nandita (played by Kangana Ranaut) is in love with a creative director of a television program, Yash (played by Adhyayan Suman). Everything is fine and cool until Nandita's life takes a dramatic turn when she meets an artist, Prithvi (played by Emraan Hashmi). He tells Nandita that all the paintings he has made on her are getting disfigured which spells impending danger for her. Initially, she does not believe him but then she starts facing horrifying situations herself. After this, hell breaks loose and an unstoppable storm begins. Thus unfolds some of the most thrilling horror sequences of Bollywood with 'Raaz – The Mystery Continues…'

Kudos to Kangana, Emraan and Adhyayan; they are 'wordlessly stupendous,' showcasing their brilliant performances. Kangana engrosses with her fantabulous actions as a scary girl on the pursuit of detangling the dark-hidden mysteries. Watch her scream while on her anesthesia, they're tremendous getting you awestruck. Obviously, it's a million-dollar expression. On the pars, we have a flabbergasting performance by Emraan Hasmi in a silent-stubborn guy bounded with inscrutable looks. Possibly, Mohit Suri seems to have been vividly influenced by Ed Norton's looks in 'The Illusionist'. Thus getting similar makeovers for Emraan... Doesn't look like a debut show, but a decorous act by Adhyayan. Emoting to different situations of joy, horror and pain, he's patently colossal. Jackie Shroff does justice in his minimal role.

When it's a horror flick, everyone's gotta follow Hitchcock's traits of coalescing the factors of 'foreshadowing', 'pre-planting' and what else? Shuddery twists and turns with shocks 'n' surprisals. Mohit Suri doesn't tread away from the master's theory. If he had penned an impaling screenplay sans unwanted songs and presenting a fine-ending, things would've been far better than the present scenarios.

In fact, a 'horror' doesn't strike richer without perfect musical scores and a spellbinding cinematography. Of course, it's the most innovative angle-moves that fling such a feel… Ravi Waliah's cinematography is top-notch, particularly in the exotic locales.

A short-break from horror is offered through the songs 'Soniyo' [Raju Singh] and 'Maahi' [Sharib-Toshi]. The background scoring is stunningly prodigious enhancing the visuals, especially on scary sequences.

On the whole, 'Raaz – The Mystery Continues' is a superb horror flick with few middling attributes. Although it doesn't happen to be as powerful as '1920', it's worth watching for the enchanting directorial of Mohit Suri.

 

8x10 Tasveer

Well, here’s another new genre of ‘Supernatural Thriller’ persistently hitting screens sans a pause. Glimpse through previous weeks’ releases. ‘13b’ dealt with a phenomenal idiot box, ‘Aa Dekhen Zara’ – about a mysterious camera unveiling future’. Here goes, ‘8 X 10 Tasveer’ right on similar notes. This time it’s all about a ‘photograph’ that will unravel the frizzled scenario.

It’s really surprising to watch Nagesh Kukunoor taking up a new avatar of treating an unparalleled script – ‘Murder-Mystery’.  He takes off with a perfect narration all throughout the show and naturally holds onto a perfect climax. What else should a film possess to carry the label of best verdicts? Obviously, Nagesh seems to have focused more on technical aspects that helps a lot for a positive approach on audiences.

Perfect cinematography – sleek editing – dazing locales of foreign countries; here’s the mantra of delighting audiences with a visual treat.

But the film stops an inch from reaching the destination of triumph. It all goes with a slight stumble in the latter part and the reasons justified for murders. Nagesh Kukunoor sports himself bounded with amateurishness on dropping such motifs on the screen.

‘8X10 Tasveer’ is a story about young man named Jai Puri, (Akshay Kumar), who possesses supernatural powers. Jai is of Indian origin who works as a forest ranger in Canada. His life is shattered by the loss of a very important person in his life, his father (Benjamin Gilani). This personal tragedy leads him to use his unique supernatural power to unravel the mystery behind the murder. ‘8x10’ is a supernatural thriller with a nail-biting finish to come up with startling answers.

Getting on with performance, Akshay Kumar excels with his decent show. Perhaps, if you ever felt that Akki had overdone acting in many of his previous flicks, here’s something that proves his adeptness. Be the sequences, where he’s woe-stricken by his father’s loss or the part where he shares elated moments with his sweetheart, he’s cool. Ayesha Taakia goes about with her middling act and Nagesh could’ve depicted her characterization that would’ve had a better impact. Man who steals the show is Javed Jaffrey. He’s sure about sparkling smiles on your faces when he says ‘My name is Happy… Happy without ‘I’ and you are pulled in more with his witty mannerisms, particularly ‘Aaj Mera Happy Birthday Hai’ quotient works out well. Sharmila Tagore, Benjamin Gilani, Ananth Mahadevan and Rushaad Rana score 5/5 for their best take. Credit goes to Nagesh for a perfect casting.

Vikas Sivaraman’s cinematography is scintillating. As mentioned earlier, his works on the stunning locales are sure to carry your senses straight to those places. Songs are quite mediocre and it could’ve been done better while the background score by Salim Sulaiman has been done stylishly.

On the terms of scripting and narration, Nagesh excels with extraordinary skills. Of course, you are bounded with so much of suspense that you’ll really get mystified about the murderer. But then, if you’re really a wizard, the mystery is disentangled right before the intermission.

On the whole, ‘8 x 10 Tasveer’ is all about a faultless thriller that should get you hooked for a couple of hours. If few garbled vistas were pulled out from the reels, then the film is worthy getting ennobled as a ‘Best Thriller’.

 

99

Exquisitely, it’s a great weekend for all film buffs who felt like thrown out of kilter sans releases. Gone are those unremarkable Fridays that didn’t bring an entertaining moment for them as ‘99’ kick-starts as a first release after such issues prevailing for a long time.

99 – One shot from century, a mark away from centum or whatever you may perceive it to be as. The film just sways on this line with interesting characterizations delineated. Perhaps, first thing you would like about is the finely established roles – fantabulous casting of performers.

Kudos to filmmakers Raj Nidimoru and Krishna D.K.!!! They’ve maneuvered with ravishing moments in the film, altho’ brimmed with certain flimsiness in narration. Spinning the best innovative spells – What many filmmakers failed to do have been accomplished by this duo. Of course, the auteurs could’ve spent a little more time in diminishing their amateurish elements. It’s like delaying moments in establishing each character and of course, the fire of thrilling moments ignites merely before minutes to intermission.

Well, just book your tickets, give a break to your cognizance, sit back and relax….

Set at the backdrops of year 1999, the film is centered on two small-time outlaws (Kunal Khemu, Cyrus Broacha). They’re over-the-top dealers of illegal SIM Cards duplication. Their happy lives get entangled with out-and-out hazardous moments once they rob a car and meet an accident. The sorriest part is that the car belongs to a roughneck gangster (Mahesh Manjrekar) to counterbalance with money.

Here protrudes the roller-coaster thriller ride that takes you straight onto the busiest streets of Mumbai and Delhi.

Makers of this film geared up with a flamboyant debut directorial in ‘Flavors’ (Telugu) and they’ve proved with the same best results in ‘99’. Indeed, the makers have churned their films with three ducky vistas ‘Funny, Intelligent and Stylish’… ‘99’ has these traits in equal ratios.

But really, there’s something that gets everyone more bemused about few filmmakers of this sort. They drop interesting ideas on their papers, but things get transformed as mediocre when they’re on the screens. Why do they plan for very long duration? Although, this comedy thriller has more enjoyable parts, you’ll start looking here-n-there and certainly find few yawning, looking at the watches. Nonetheless to these degrading factors, fantastic characters diminish them and that’s a smart little move by makers. Be it these criminals (Kunal and Cyrus) or the serious match fixer (Vinod Khanna), they get straight under the skin of personations.  Soha Ali Khan is much most hunky-dory on her show. Boman Irani leaps with a commendable performance and the duo-filmmakers should’ve established his image more delicately. Simone Singh and Amit Mistry have done justice to their roles.

Getting on with technical aspects, music is a big letdown on both the vistas of Background Score and Songs. On the contrastive grounds, Rajeev’s camera works on exotic locations of Mumbai and lanes of Delhi are awe-inspiring. Looks like both departments of camera and editing have laid their innovative designs together.

Right on complete rating, ‘99’ scores same as its title and would have done better if certain diminishing elements were avoided. Well it’s a good attempt by duo filmmakers that’s sure to keep audiences entertained.

 

Kal Kissne Dekha

Alas, looks like long-listed supernatural-thrillers aren’t gonna end in Bollywood. Why do filmmakers penning a thriller-script actually fail to deliver that genuine genre? A Billion dollar question indeed! In the past couple of months we’ve been witnessing certain flicks running lack of nitty-gritty panoramas of thriller elements. Regrettably, the scenarios were wretched with ‘8X10 Tasveer’, ‘Aa Dekhe Zara’ as there were no twists-n-turns, factors of surprisal elements for the audiences.  Incisively, here joins another flick on the queue of feigned-thriller that extremely dashes down our hopes.

‘Premonitions’ – so-called ducky sort of conceptualization has hop-skipped from Hollywood to B-Town. Predicting the future, getting for hand-in-hand combat with fate, etc; naturally, ‘Kal Kisne Dekha’ is set at backdrops of these vistas that lacks almost everything in terms of ‘Thriller’.

Screenwriters have indeed crafted interesting plots and attention-grabbing twists, but soon they’re turning to be more off ennui. Above all the most disappointing part is where we are urged to go-through merely the talents of Jaccky Bhagnani and story loses importance over there.

Nihal Singh (Jaccky Bhagnani) hailing from Chandigarh is a seemingly simple yet unconventional lad loaded with non-stop talk, questioning a lot. Totting up to his characterization, he’s a genius designing complicated gadgets during leisure hours. Much bonded to his mom, his costliest dream is to study in best institute of science. His insatiable passion for big ideas in small things makes his so unparalleled to other lads beside him.

Of course, Nihal’s dreams come true when he’s accepted the top-charting college of Mumbai. Right flying across the seventh heaven, this chap has to go through certain turmoil in the initials days of his college life. He’s bawled out by his seniors and very often affronted by the girl he’s fond off most.  Nevertheless, nothing seems to be a great barrier for this Ladka from Chandigarh as he easily wins applauses of appreciations from his classmates as well his professor Verma (Rishi Kapoor), warden of his college.

Much fascinated with his unique nature of mind, Professor Verma voluntarily agrees to become his mentor. The fille whom Nihal deeply in love with is Meesha (Vaishali Desai) doesn’t spare a pinch of soft corner on him. But things take a worst of turn when Nihal happens to foresee future only to find that dangerous situations are awaiting for his sweetheart.

The innocent guy has to run now with the task of saving Meesha from clutches of life-threatening situations. Now the news about Nihal’s ability to foresee future spreads like wild fire-in forests amongst the media channels. Meanwhile sweet love blossoms between Nihal-Meesha and they find solace in each. But, things are getting more worsen for Nihal as someone is right behind him on misusing his gift of premonition against him. Will he able jump out of his jeopardizing situation and save himself forms crux of the story.

Vivek Sharma proved of his adeptness with his debut directorial ‘Bhootnath’ and what gets him overwhelmed with flimsy motifs with this one. Although, the filmmaker has established interesting plot-points and knots at certain intervals, he hasn’t stridden for a gripping narration in latter half. You will witness whole lot of unsubstantial moments with illogicalities. Again, Vivek has failed miserably in designing ‘Characterizations’. Most of them suddenly disappear without prominence and that should’ve been counterbalanced. Screenwriters have spelled certain interesting shocks-and-surprisals and yet they don’t seem to be invigorating.

Jacky has a long way to go ahead and he could’ve opted for a more substantially estimable flick. Likewise, Vaishali carries off the film on her part with charisma. Rishi Kapoor on a contrary role is a real surprise. Vivek could’ve showcased Deshmukh more considerably. Rahul Dev does his part well while the cameo roles by Akshay, Sanjay Dutt don’t turn out to be attractive quotients. 

Getting with technical dioramas, everything is perfect. Appealing music, scenic shots and editing are precisely colossal. Sajid-Wajid has proved off tuning good melodies and Johny’s cinematography requires special mention.

As a whole, Kal Kisne Dekha isn’t exceptionally best on narration. With more unanswered questions running in your minds, the film will be an ungratified show at the end.

 

Body of Lies

It's been seven years since the September 11 attacks and five since the Iraq war began. The war on terror is unclear, confusing and too immediate to get any kind of proper perspective. The movie "Body Of Lies" doesn't make it any easier for us to understand. It is a muddle of a movie, albeit with good intentions which, while trying to make too profound a statement, gets itself into an unnecessary mess.

The movie is populated by too many characters and there are too many strands of sub-plots to follow to create any kind of coherent reaction. It's a shame because the stars Leonardo DiCaprio and Russell Crowe, along with director Ridley Scott and a fine script by William Monahan, have all been excellent in other movies. 

DiCaprio does a fine job and just might be the only bright spot. Scott again falls into the trap of trying to make a profound statement and thus allowing himself to get bogged down. The script by Monahan is big let down especially since he did a great job with the Oscar winning "The Departed".

The plot, when it actually makes sense, revolves around the American spy Roger Ferris working in Jordan even as he receives orders from his boss (Crowe) from his home in the US. Ferris is trying to catch terrorists with the help of the Jordanian security chief Hani (Mark Strong). Matters get complicated with close associates not revealing all the information, Ferris getting romantically involved with a local nurse (Golshifteh Farahani). Things get a little bit more resolved towards the end but not before a fair bit of head scratching and lack of empathy.

The characters are not allowed to be fleshed out and we find it hard to connect with them. But Dicaprio does a fine job of relaying the importance of looking at the players in this war as humans as opposed to his boss who considers everyone as pawns.

The supporting actors all give a fine performance with Mark Strong clearly making a mark. He holds his weight opposite the likes of DiCaprio and Crowe. The Iranian actress Golshifteh Farahani gets few scenes and provides some refreshingly light moments. But even the sub-plot involving her in the end seems pointless.

The movie respects the situation in the Middle East and tries to express the nuance of complexity. It might have done its job unintentionally by confusing us. But it fails to make us empathise with the many innocent people who continue to be unfortunate victims.

For those looking for a well made movie anchoring itself in an increasingly complex mess hoping to learn a little bit more and at the same time being entertained, this movie will satisfy.

Quantum of Solace

If "Casino Royale" was set up as a template for the new Bond actor Daniel Craig, "Quantum Of Solace" merely re-establishes this new order. All the major ingredients that go into making the Bond movies special are featured here. "Quantum Of Solace' doesn't thrill or break new ground, but it is still a very good Bond movie.

Director Marc Forster is an odd choice to helm a Bond movie since his previous hits - "Finding Neverland" and "Monster's Ball" - were not action movies. While Craig returns to give a solid performance and the gritty style with raw action maintained from the previous movie, this movie does lack a coherent plot that at times undermines the whole viewing experience.

The movie continues with Bond seeking to find his lover's killers. 

This Bond is very angry and leaves too many people dead in his trail. Bond soon finds himself in the midst of a nefarious plan of villain Dominic Greene (Mathieu Amalric) who is posing as a crusader for the environment but secretly has a more sinister plan. 

Hunting the bad guys requires Bond to travel quite a bit and this gives the filmmakers a good excuse to stage some action sequences. There is a chase on foot through the streets, a chase on speed boats and even a battle in the sky with planes. Through it all, Bond maintains his cool but never cracks a smile.

At times the movie takes itself too seriously. This Bond movie may be the least fun of them all. His desire to seek revenge casts a dark shadow of a mood through out the movie and some well timed humour might have been refreshing. Gone also are the gadgets, along with Q. The one liner innuendos are also missing and for the first time, Bond's signature "The name's Bond, James Bond" has been dropped.

The action sequences are disappointing. This was the most expensive Bond movie made and the action does take place in some exciting locales. But the director makes a minor mistake. He choreographed the action from up close. We are placed right in the middle of the action, but we are not clear on what's happening exactly. Sadly, at times we don't want to seem to care.

The actors do a commendable job. Craig clearly suffers from a script that could have exploited his range in talent more. His character comes of very one dimensional. 

The Bond girls Olga Kurylenko and Gemma Arerton are stunning but end up as props. They are not allowed to be fleshed out. There is a bit of a back story for Camille (Kurylenko) but even she is disposed off much like former Bond girls.

Craig is set to return for more Bond movies. He had a good start with "Casino Royale". With "Quantum Of Solace" he cements the new more gritty Bond, but at the expense of fun. 

Here's hoping the Bond of the future will lighten up, have some fun, and not take himself too seriously. Not everything from the old Bond movies needs to be changed.

Death Race

Some movies manage to be incredibly inferior in some areas and yet manage to deliver wonderfully in others. The action movie "Death Race" is a prime example where the plot and script are laughable but where the action sequences are thrilling. At times it looks too much like a movie which can be enjoyed only by a very niche audience. 

Jensen Ames is an ex-con framed for murder and sent to a prison where the prisoners are forced to compete in a high-speed car race with barely any rules. 

The movie is set in 2012 and it does get a few things right. The economy has collapsed in 2012 and sinister corporations have taken over. The background of the economic collapse eerily echoes the present financial crisis. But pretty much everything else in the movie is other worldly. 

The races are at times spectacularly thrilling, but also verge on becoming monotonous. The action scenes are staged well and it would have to be so since the action is this movie's saving grace. 

The script is laughable. Statham is not a good actor by any standard and his dialogue is mercifully monosyllabic. The dialogue serves just to intimate us on the proceedings and no attempt is made to flesh out a character. 

There are two very fine actors in the form of Joan Allen and Ian McShane. Allen is an Oscar nominated actress and seems to have a habit of appearing in action movies after having shone in the Bourne series. She has very little to do here and tries to bring a touch of class and sophistication to this at times drab movie. 

Ian McShane impressed in the HBO series "Deadwood" but has not managed to snag the role he deserves. Statham does the requisite grunting, wincing, scowling and gives the intense gaze of a typical action character. 

Since this is an action movie, we can literally tick away the necessary ingredients. There is the cliché eye-candy in the form of Natalie Martinez. There is a hint of background characterisation for her that seems sadly added on for the mere pleasure of being looked at. 

At times the movie is unnecessarily violent and even that seems strategically placed to satiate the testosterone laden male teen. The gore is mostly momentary and thankfully the action emphasis is on explosions during the car race. 

For those looking for a not too demanding viewing with just enough action to be thrilled for a hour and a half, "Death Race" is a good bet.

In Bruges

Very few movies can pull off a mix of dark comedy, action and grand themes. However, Martin McDonagh pulls off this potent mix of styles and blends them to create the very fine "In Bruges", which he has not only directed but also written.

The brilliant script has two formidable actors in the form of Colin Farrell and Brendan Gleeson fleshing out the characters. Gleeson plays an older more mature father figure to Farrell. They are both hit men who have been sent to Bruges, Belgium to lay low till further instructions.

Gleeson's character Ken enjoys soaking in the culture and antiquity of Bruges, which apparently is "the most well-preserved medieval city in Belgium". Farrell's character Ray is more restless and antsy. Ray also has to deal with the ever increasing burden of guilt of having accidentally killed an innocent boy in his first ever mission.

Though this is McDonagh's first feature film, he had impressed earlier with his plays and his Oscar winning short film "Six Shooter" in 2004. He avoids the trap of trying to impress. The movie works because he understood that balance was the key to his movie. 

There are disparate features like comedy, violence, morality, backdrop that had to be carefully blended. Though it is set in a beautiful city, there are no attempts to wow us and instead the city serves as an ominous backdrop for the violence and morality that is being played out. The violence, though at times gory, is not glamourised. The comedy is subtle and never veers off into farce.

The actors do complete justice to a fine script. This is clearly one of Farrell's finest performances and the lesser known Gleeson is perfect, just as always. The chemistry between them is believable and both actors mange to bring out the inner turmoil to the surface. 

Ralph Fiennes, though appearing in the later half of the movie gives a brilliant performance as the boss. He plays a charming but completely wicked man who has a weird notion of living up to his principles.

Another interesting aspect of this movie is the dialogue. At times the characters discuss inane topics but there is also seamless transition to more profound things. The themes of guilt, redemption and loyalty are all very maturely handled. This is an action movie with soul.

It isn't likely that there is going to be much noise made for this movie either at the box office or by the critics. But this movie definitely deserves more attention than it will ever get. For those looking for a good balance of action, comedy and scenery, check this movie out. It delivers.

The President Is Coming

In his directorial debut, "The President Is Coming", Kunaal Roy Kapoor has hit the bull's eye. The movie, a satirical comedy to show India's obsession with America, perfectly blends criticism with wit and leaves you in splits.

"The President is Coming" isn't so much about the US President George W. Bush, it's about what he represents in the minds of people in India. The movie can be termed as a perfect farewell to Bush, who is serving his last few days in the White House.

For most Indians, going to America is a solution to all their problems and Kapoor has beautifully presented it in the film. 

Kapoor has made the film with the same cast that he used for the theatrical version - debutante Ira Dubey, Namit Das, Anand Tiwari, Satchik Puranik and Vivek Gomber and their excellent performances make the film worth the watch.

Konkona Sen Sharma is the new addition in the cast and her portrayal of a snooty Bengali writer who tries to outfox other contestants will win her much applause.

Made in English, the film is for a niche audience, but is a must watch for all irrespective of whether they love or hate America. 

The film revolves around the US president's visit to India and a PR agency's hunt for a suitable Indian who will shake hands with him.

Shernaz Patel, an eccentric PR agent, has to do the difficult task of choosing a suitable young Indian to shake hands with the US president. She shortlists six people from different walks of life with the help of her dim-witted assistant Ritu Johnson (Shivani Tanksale) whom she tries to intimidate all the time.

The fun begins when six people -- Maya (Konkona), an IIM graduate and staunch desi social worker Ajay Karlekar (Satchit Puranik), accent trainer Rohit Seth (Vivek Gomber), business tycoon's spoiled brat with scandalous past Archana Kapoor (Ira Dubey), IIT graduate and a homosexual nerd Ramesh. S (Namit Das) and stock-broker Kapil Dev (Anand Tiwari) -- come under one roof in the US consulate.

As part of its tongue-in-cheek humour, the "The President Is Coming" begins stating that "the film claims to be a fake documentary" and builds the situation in such a funny manner as if it actually happened.

The film lacks glitz and gloss, but the script seems to be in place, the dialogues are witty, the editing is also perfect, and most importantly the director never meanders from his main theme. All this makes "The President Is Coming" an enjoyable watch.

Kudos to Kapoor for coming up with such an entertaining film, which marks a good start this year for Bollywood.

Slumdog Millionaire

Is there anything really left to say about Slumdog Millionaire? It's been described in every way possible, from extraordinary to exploitative, from masterful to mundane.Slumdog Millionaire to me hardly remains as much a film as it is a phenomenon, and admittedly it does feel silly adding my two insignificant cents to the million.

Well, if you ask me, here's my humble take. Did I like it? Yes, very much so. But I would be lying if I said it blew me away, and even more so if I didn't admit that I was a tad underwhelmed- but you could blame it on my great expectations for this Dickensian tale of adversity, adventure and unswerving love.

Danny Boyle brilliantly crafts this rags-to-riches tale treating the subject with humility, respect and dignity, immersing him in the milieu and yet maintaining his uniquely kinetic style without forcibly imposing a 'foreign' style on the film, and this is no ordinary achievement. Boyle's enthusiasm and spirit is difficult to resist, and even harder not to admire. 

This is undeniably a pure masala plot that feeds of the most classic of Bollywood themes, and I can't help but wonder if the ingredients that make up this film would have been better handled in the hands of say, a Bhardwaj instead of a Boyle, of what a masterful Indian filmmaker could have made of this material... but well, I guess I'll just let that thought be, for the rueful fact is that no big producer in India would touch this film with a bargepole.

Boyle, along with his exceptional cinematographer Anthony Dod Mantle don't look at slum life with lingering pity, instead what we get is a celebration of life and the sheer spirit to survive and win, against all odds. Set to AR Rahman's music, the images create an oddly beautiful, even poetic landscape that throbs with life.

Simon Beaufoy's screenplay, skillfully adapted from Vikas Swarup's novel Q&A is taut and never less than gripping, and while it might be easy to nitpick and point loopholes and accents, this is clearly not a film about tiny details and complaining about them is pretty pointless. The English and Hindi mix is handled pretty darn well, especially in the first half, and while it compromises on the authenticity, the writers have clearly done their best. 

If there is a weak spot in the film, it would have to be the central love story which did not come across as affecting enough to me, and I would perhaps blame some of that on Frieda Pinto who came across as a little lackluster despite a reasonably attractive presence. The rest of the cast is pitch perfect right from Dev Patel as the pure-hearted Jamal and Madhur Mittal as his street smart brother Salim to the other supporting players- Anil Kapoor, Irrfan Khan and Ankur Vakil. But the actors who really shine and give the film its most touching and endearing moments are without doubt the youngest- Azharuddin Mohammed Ismail, Ayush Mahesh Khedekar, and Rubiana Ali who play Salim, Jamal and Latika in the earliest parts of the film- the innocence they bring to the film is incredible, and for me, these little unsung heroes alone warrant that you watch this film. 

In the end it's Danny Boyle who like Jamal doggedly and devotedly jumps into a cesspool of s**t, and emerges wonderfully triumphant, even as some accuse him of 'cheating'. And even as Slumdog didn't quite make it from exciting to exhilarating and magical for me- I don't grudge the film its glory. After all, maybe the answer behind its success is simply (d). Destiny, that is. 

Marley & Me

Hollywood movies about pets are usually annoyingly cute. The movie is titled "Marley and Me", where Marley is the dog, but it really isn't about Marley. It's about the people around Marley. A couple shape their lives around this the "world's worst dog" and slowly a family is built with the dog becoming an integral but not the central part of their lives. 

Owen Wilson and Jennifer Aniston star in this fine movie directed by David Frankel based on a book by John Grogan. The movie is surprising in the way it doesn't pander to us by making the dog endearingly cute. The dog doesn't teach the characters any major life lessons or anything like that. The movie actually is about marriage, the importance of commitment, sacrifice, unfulfilled dreams and finding joy in unexpected places. 

Wilson and Aniston play newly married couple working for different newspapers. They get a dog to delay having children, but the dog soon is a terror. Over a span of 13 years the couple go though the highs and lows of married life, have three children and in the end have to say goodbye to the dog that has been such an integral part of their lives. The first half of the movie focuses on the shenanigans of the dog but soon veers off into a more mature exploration of the difficulties of married life. 

John is easygoing but his wife is super organised and has their whole lives planned out. Both have to make sacrifices and the movie doesn't flinch from some of the ugliness that can creep into such intimate relationships. The dog Marley more often is an observer just like us and only sometimes does he drive the plot. 

The acting is decent. Wilson has always done a commendable job and in some pivotal scene which could have been milked for their emotionality, he plays it down and adds a touch of dignity to sorrow. Aniston had for a long time played the nice girl, but here she brings more depth and complexity. She doesn't play the long suffering wife and there are scenes where she is downright vicious. 

Alan Arkin plays a role undeserving of him. He won an Oscar for "Little Miss Sunshine" and his part could have been greatly developed. Eric Dane from "Grey's Anatomy" doesn't do much to make an impression. 

Some might be misled to think this is just another movie with a cute dog, but they should check this movie out anyway. It may not have laugh-out-loud comedy, but it is light, endearing and with a good touch of drama.